10/09/2010

Oceansize - Self Preserved While The Bodies Float Up

Oceansize have been one of the most innovative and singular bands in the UK for some time now, rarely making concession to fashion or passing musical fads. Since their debut, 2003's Effloresce, they have created varied records that veer from riff heavy brutality to delicate post-rock textures to skyscraping melody, often in the course of a single tune. 2007's Frames saw the band push these textures to extremes, creating some epic compositions that were more classically concieved pieces of music than mere rock songs.

It seems with this new record however, that the band have decided that brevity can be a positive factor in their songwriting, and prog fans may be disappointed by some of the song lengths. Fear not though, for there is no lack of creativity to be found here, as tracks like Superimposer and Build Us A Rocket Then... career through ideas at lightning speed. Opener Part Cardiac is a thrilling yet misleading introduction to the album, with its slow tempo and thunderous detuned riffing proving misleading to the mood of the rest of the record.

The middle section of the record sees Oceansize expand further on the mellower textures explored on their recent Home & Minor EP, with A Penny's Weight and Ransoms being a much more restrained and allowing for space and ambience in the band's sound. Silent/Transparent crosses the 8 minute mark, with a huge crescendo following on from some lush melodies from singer Mike Vennart. Drummer Mark Heron also deserves special mention for his work throughout the album, bringing incredible technicality to the heavier tunes while even introducing some jazz-influenced ideas to the more sparse tracks such as eerie closer Superimposter.

It's My Tail shifts the mood again, its short sharp shock of mountainous chords providing another dynamic change, helped along by a shouty cameo from Biffy Clyro's Simon Neil. But the centrepiece of the record is the epic Oscar Acceptance Speech. The early sections recall Mew at their most melodious, Vennart adopting a falsetto that suits his voice well. The track shifts through the gears, to a powerful middle section with myriad harmonies and voices crossing over before a lush 3 minute string coda that floats the listener down to earth again gently. A truly stunning piece of work.

Many are claiming this will be the record that pushes Oceansize into the wider public consciousness, and there are few bands who deserve recognition more. But for my money, this is purely the sound of a band continuing to explore their sound, and this record sees them move into exciting new musical territories in an absorbing and affecting way.

10/10

05/09/2010

Charlie Barnes - Geekk

Charlie Barnes' Myspace page gives an interesting method of answering the age old 'influences' question - giving recipe instructions on how to "build your very own Charlie Barnes". Giving ingredients such as a pinch of powdered Sigur Ros and 500g of Thom Yorke, it gives people new to Charlie's music a long list of reference points to compare him to. The fact that this album is in no way weakened by comparison to these names is testament to the quality and ambition of Barnes' songs.

Opening with the twinkling intro of A City Built and flowing straight into first song proper Architects, the first thing that is clear is how unafraid of Barnes is of letting his ideas breathe and develop naturally. Despite the layers of electronics on this first tune, it still feels very organic as Barnes paints an image of building a city by "painting roadmaps with your fingers". Continuing with the organic theme, Bedroom is built on layers of beatboxing and harmonising, creating a lush backdrop to his elaborate lead vocal.

The title track uses some neat changes of tempo, embellishing the deceptively simple tune at its heart. Snakes, Ladders & Aeroplanes is perhaps the most intense moment on the record, its climax seeing Barnes pretty close to busting his lungs to get his message across. Throughout the album the kitchen sink is most definitely thrown in, with barely any song going without some epic strings or layers of electronics, and with the possible exception of the slightly overwrought Bluebell, the combinations of texture always work well. Closer Final Call bucks this trend nicely, leaving its delicate tune gorgeously sparse, particularly near its end as Barnes implores us to "Just let me fly today".

This is an incredibly accomplished and ambitious first album, and one hopes Barnes continues to develop his songwriting and fulfil the ambition shown on this wonderfully assured debut.

8.5/10

http://www.charliebarnesmusic.co.uk/